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He finds the threat of climate change “overwhelming – nobody seemingly knows how to deal with it, and we can’t get our head around it. That somewhere, we’re trying to do the right thing. It’s thinking small, in a part of the world, and the idea of that is incredibly appealing to me. “The thing I like about is that it’s people taking on other people’s f***-ups, taking on the responsibility of trying to correct something. “Action is the thing that we need,” he argues.
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Having recently bought a patch of land in Sumatra to convert into a sanctuary for animals abused by the Indonesian trafficking system, Ellis is clearly concerned about our ecological impact. We’re really scolded so much these days about things and I think for some people, your instincts are to just turn away from that.” What are we doing to these animals? What are we doing to the earth? Without rapping people over the head and over the knuckles and laying the blame on people, it allows you to draw this from what you’re seeing and I think that makes it incredibly powerful. “And one of the great things about is that it has this incredibly powerful message about climate change. “It’s a really extraordinary film,” Ellis says.
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There’s been this ongoing conversation that is a big part of the result.” It might be over dinner or it might be on the phone or it might be on the way to a concert or something. And that’s not something that happens with a lot of people, that’s something that is incredibly hard to find… A lot of what we do goes on in conversation, on the phone, just putting ideas out there: ‘Why don’t we try this’ or ‘why don’t we use these sounds’. “There’s a kind of trust between us that you can take risks, you can do whatever you like within that. Why does it work? “I guess the fact that we like to just get in a room and see what happens,” Ellis says. I’m taken away by it… but they’re just snippets in an ocean of bullshit.” “A whole lot of terrible s*** happens when Warren and I get into a room but there are these moments… it clicks into something transcendent. “It gets into this strange meditative state where you have no idea what’s going on, and that’s when stuff happens,” Ellis – described by Cave as a domineering collaborator who’s “almost always on transmit and not so much on receive” – says in the film, and Cave elaborates. Taking in Bad Seeds albums and numerous soundtracks including The Proposition (2005), The Assassination of Jesse James By the Coward Robert Ford (2007) and The Road (2009), it’s a creative partnership that has propelled them to some strange and telepathic places. And through his work on Bad Seeds albums, film soundtracks, records with his fiery instrumental trio The Dirty Three and recent book about Nina Simone, he’s become a fashion and rock icon to rival Cave himself. Overcoming his addiction by the late Nineties, this impassioned multi-instrumentalist and violinist emerged as one of the most riveting performers in one of the world’s most riveting rock bands – limbs flailing, body convulsing, his bow a flashing rapier. The imagination is a wonderful thing.”Įllis, 57, has become a totemic figure in the Bad Seeds since his arrival in 1996 – looking, as he is, like a man who found his first piano accordion in a local tip as a child and who went on to become a classically trained busker, composer for Australian theatre and art exhibitions, and heroin addict: he first, briefly, met Nick Cave in a drug dealer’s corridor. “When I saw Nina Simone, the whole room transformed into this sort of fiery inferno,” he says. I don’t know what it was but clearly something else was in the room when we were making that record.” He dismisses any suggestion of diabolical influence, but he’s not a man bereft of brimstone visions. “ was the only time where there was this presence of something else in the room.
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“It may have been the devil, but there was something else there,” he says, recalling a rather magical two weeks in Malibu recording The Bad Seeds’ captivating 2019 album Ghosteen. Warren Ellis, untamed wildman of Nick Cave’s Bad Seeds, has never seen the devil onstage, but he can’t say he’s never felt him lurking.